Tag: Kali

  • Celts Ancestors of French English Worshiped Kali?

    I have written an article that the Celts were the descendants of Brahmins of India of Sanatana Dharma.

    River Danube is Danu.

    In Burgundy, France, a site has been excavated and it contains the image of Kali in a wine mixing vessel.

    Goddess Kali is an Amsa of the Devi.

    In Devi worship , Tantra Shastra, advocates certain practices that include drinking.

    Lioness is the vehicle of Devi.

    Notice the tongue protruding as in Kali’s Image.

    Sculpture of Goddess Kali.jpg
    Sculpture of Goddess Kali.
    Wine vessel Vix Grave
    A Gorgon head is on the outside of each of the krater’s three handles. “Cratère de Vix 0007”. Licensed under CC BY-SA 2.5 via Wikimedia Commons – http://commons.wikimedia.org/wiki/File:Crat%C3%A8re_de_Vix_0007.jpg#mediaviewer/File:Crat%C3%A8re_de_Vix_0007.jpg

    “The area around the village of Vix in northern Burgundy, France is the site of an important prehistoric complex from the CelticLate Hallstatt and Early La Tène periods, comprising an important fortified settlement and several burial mounds. The most famous of the latter, the Vix Grave, also known as the grave of the Lady of Vix, dates to circa 500 BC. Her grave had never been looted and contained remarkably rich grave offerings (collectively sometimes known as the Trésor de Vix), including a great deal of jewellery and the Vix krater, the largest known metal vessel from antiquity, being 1.63 m (5’4″) in height.[1]

     

    • The vase proper, made of a single sheet of hammered bronze, weighs about 60kg. Its bottom is rounded, its maximum diameter is 1.27m, and its capacity is 1,100 litres (290 gallons). Its walls are only 1mm to 1.3mm thick. The krater was found crushed by the weight of the tumulus material above it. It had telescoped completely: the handles were found at the same level as the base. It was restored after excavation.
    • Its foot is made of a single moulded piece, its diameter is 74cm, its weight 20.2kg. It received the rounded bottom of the main vase and ensured its stability. It is decorated with stylised plant motifs.
    • The three handles, supported by rampant lionesses, weighed about 46kg each. Each is a 55cm high volute, each is elaborately decorated with a grimacing gorgon, a common motif on contemporary Greek bronzes.

     

    “Note by Dale D. The face is a typical Gorgon face from Classical Greece and as such something very well known in both Greek and Roman society. Jayasree interprests the face as being that of Kali. This puts the story of Perseus and Medusa into a new light. Now it has been suspected for a long time (and rejected bu Scholars for a long time) that the name “Perseus” means “The Persian” but even this Perseus is shown dressed in Persian style wearing what looks like pyjamas and curly-toed boots and wearing a Phrygian cap. He is said to have taken the head of Medusa-this gorgon mask -by murdering the goddess because it was death for her to look upon anyone. By stealing the head of the Goddess he intended to control her powers of dealing death by showing the head only to people he wanted to die. He took the head to Joppa and used it to kill the Sea Dragon Cetus (“Whale”, but usually shown as looking like a typical dragon) and to rescue princess Andromeda for his wife. Andromeda means “The one that men like to think about” and Kali in Greek means “Good-Looking”, similar to the English Comely. It seems the true meaning is that this Persian fellow came back from a trip into India with an icon of Kali and used it to magically curse his enemies to death-so he said-and a story was added that he had killed the Goddess and took her head (The face mask was then given over to the Greek Goddess Athena and became one of her symbols, she was supposed to wear it as a badge on her goatskin over-robe) ALL of these mythological figures are constellations; the story figures heavily in Greek Astronomy and together they cover a fair section of the sky, from near the North Pole to the constellation Cetus, which lies below the ecliptic and the band of the constellations of the zodiac’

     

    Citation.

    Vix Grave

    Frontiers of Anthropology

  • Parashu Rama Guru Of Kalki Kalki Family

    Many of us ware that Kalki will be Avatar of Lord Vishnu in Kali Yuga.

     

    This is yet to manifest.

    Kalki Avatar of Vishnu.Gif
    Kalki Avatar of Vishnu.

     

    Kaliyuga lasts for 4,32,000 years.

     

    Kali means ‘strife, Discord,quarrel” or “contention’ .

     

    We are in the 5115 Year of KaliYuga.

     

    Of the four Yugas, in the Satya Yuga Dharama has  Four Legs, Three in the Treta Yuga, Two in Dwapara and one in Kali.

     

    The Four legs of Kali allegorical.

     

    They represent austerity, cleanliness, mercy and truthfulness.

     

    When the Kali Purusha, Kali stands on leg, that is Truthfulness, Kali Yuga shall exist.

     

    When even that fails, Kalki Avatar will emerge.

     

    After setting off to wage war against the evils of the world with his armies, Emperor Parikshit, the grandson of Arjuna, came across a Sudra dressed as a king who was beating a cow and an ox with a club. Parikshit immediately lead his chariot over to the scene and angrily berated the sudra for abusing the sacred cow and her mate. However, this was no ordinary sudra and these were no ordinary bovine, for the sudra was Kali and the cow and ox were embodiments of the earth goddess and Dharma. The Emperor noticed the ox was standing on one of his legs because the other three had been broken by Kali. Dharma explained his four legs represented “austerity, cleanliness, mercy and truthfulness”, but he had only the leg of “truth” to stand on since the other three had been broken by kali over the preceding yugas. Kali was intent on breaking all the legs that supported the reign of dharma so he could effect the expansion of his own dark reign on earth. The earth goddess cried for she had once been plentiful, but when Krishna died and ascended to heaven, she was forsaken and all of the prosperity left from the world. She feared evil kings like Kali would continue to lay waste to the earth.

    When Parikshit raised his sword to kill Kali, the sudra stripped himself of his royal garments and prostrated himself at the emperor’s feet. The emperor knew Kali tainted the world with his evil and so had no place in it and raised his sword once more. But Kali interceded again and begged the emperor to spare his life and allow him a place to live within his empire. Parikshit decided that Kali would live in “gambling houses, in taverns, in women of unchaste lives, in slaughtering places and in gold”. And as long as Parikshit ruled India, Kali stayed within the confines of these five places. This act allowed Dharma to regain his legs and the earth to be relieved of much burden. However, Parikshit was later cursed to die by snake bite after hunting in the forest and throwing a dead snake on an unresponsive sage practicing austerities. Upon the emperor’s death, “Kali made his way to other places like wild fire and established his power throughout the length and breadth of the whole world.”

    In another version of the tale, Kali enters into the Emperor’s crown when Parikshit gives him permission to reside wherever there is gold. Upon returning home after offending the sage, Parikshit says to himself, “Kali-yug’s abode is in gold; this was on my head; hence I had so evil a thought that, having taken a dead snake cast it on the sage’s neck. Therefore, I now understand that Kali-yug has taken his revenge on me. How shall I escape this grievous sin?””

     

    Family of Kali.

     

    Kali is the great-great-grandson of Lord Brahma. He is the son of Krodha (Anger) and his sister-turned-wife Himsa (Violence). He is the grandson of Dambha (Vanity) and his sister-turned-wife, Maya (Illusion). He is the great-grandson of Adharma (Impropriety) and his wife, Mithya (Falsehood). Adharma was originally created from Lord Brahma’s back as a Maleen Pataka (a very dark and deadly sinful object).

    B. K. Chaturvedi, a modern translator of the Kalki Purana, states in a foot note that the growth of this dark sinful object into Adharma seems to, “convey the growth of Kali Yugaand its obnoxious offshoots

     

    Parashurama, an Avatar of Lord Vishnu is a Chiranjivi, and is said to still be doing penance today in Mahendragiri. The Kalki Purana writes that he will reemerge at the end of Kali Yuga to be the martial and spiritual guru of Kalki, the tenth and final avatar of Vishnu. It is foretold that he will instruct Kalki to perform a difficult penance to Shiva, and receive the celestial weaponry needed to bring about end time.”

     

    For predcition about our times in Kalki Purana please read my post.

     

    Kalki Jayanthi is on  2,August,Shukla Shasti in Shravana masa , in North India.

     

    In South India it is on 27 August, 2014,Bhadrapada masa , Shukla paksha Dwidiyai,

     

     

     

    Citation.

    http://en.wikipedia.org/wiki/Kali_(demon)

  • Sidha Kunjika Stotram Equivalent Devi Mahatmiyam

    Chandi Mantra, Devi Mahatmiyam is a powerful parayana.

     

    There is Stotra , which is recited at the beginning of Chandi Recitation.

     

    This stotram delivers powerful results which can be obtained by reciting the entire Devi Mahatmiyam.

     

    This was revealed to Parvati by Lord Shiva.

     

    Sidha Kunjika Stotra. , Unidden Song of Perfection.

     

    Shiva Uvacha:-
    1.Srunu devi pravakshyami Kunjika stotram uthamam,
    Yena matra prabhavena chandi Japa Shubho Bhaveth.

    Shiva Said,
    Oh Parvathi please hear the great prayer called Kunjika,
    By recitation of which , the recitation of Devi Mahatmya(Chandi)
    Would become more powerful/auspicious.

    2.Na kavacham, Na argali stotram , kilakam , na rahasykam,
    Na sooktham Napi dhyanam cha na nyaso na cha varchanam.

    There is no need to recite Kavacham , Argalam , Kilakam and the Rahasya thrayam,
    Nor is it necessary to recite Suktham , Dhyanam , Nyasam and also no need to worship.

    (These are preliminary stotras that need to be recited before reading of Devi Mahatmyam/Chandi/Durga Sapthasathi. Here is it told that if this kunjika stotram is recited then there is no need to recite all these)

    3.Kunjika pata mathrena Durga phalam Labheth,
    Athi Guhyataram devi, Devanam abhi durlabham.

    Just by reading Kunjika , we would get the effect of reading Chandi,
    And Oh Goddess this is a great secret and even Devas do not know it.

    4.Gopaneeyam prayathnena swayoniriva Parvathi,
    Maranam, Mohanam Vasyam Sthambho ucchadanadhikam.
    Pata Mathrena sam sidhayeth Kunjika stotram uthamam.

    Oh Parvathi , you decide about the effort to keep it as secret
    Because just by reading this great prayer on Kunjika , we can easily achieve,
    Murder , attraction , slavery , making things motionless by repeated chants,

    5.Atha Manthra:-
    Now the chant:-

    Om Aim, kleem Chamanudayai viche . Om Gloum hoom kleem joom sa,
    Jwalaya jwalaya , Jwala, Jwala , prajwala , prajwala ,
    Aim Hreem Kleem Chamundayai viche Jwala, ham sam lam ksham phat swaha.

    ( this is a Thanthric chant which consists of sounds and words which are meant to please the Goddess. “Jwalaya” means “Burn” , “Prajwala” Means “set fire.”)

    Ithi Mantra :
    This is the chant

    6.Namasthe Rudra Roopinyai , Namsthe Madhu Mardini,
    Nama Kaidabha Harinyai , Namasthe Mahishardhini

    Salutations to her who is angry , Salutations to the killer of Madhu,
    Salutations to the winner over Kaidabha , Salutations to the killer of Mahisha.

    7.Namasthe Shumbha hanthryai cha Nishumbhasura Gathini ,
    Jagratham hi Maha devi , japam Sidham kurushwa may.

    Salutations to the killer of Shumba and the killer of Nishumbha,
    Oh Great goddess , please safely give me expertise of chanting this.

    8.Aimkari srushti roopayai hreem kari prathi palika,
    Kleemkari Kama Roopinyai , bheeja roope namosthuthe,

    Salutations to the Goddess who has the form of root chants,
    Who by the chant “Aim” has the form of the creator,
    Who by the chant “Hreem” has the form of one who takes care of,
    And who by the Chant “Kleem” has the form of passion(Desire)

    9.Chamunda chanda gathi cha yaikari Varadhayini,
    Viche cha abhayadha nithyam namasthe Manthra roopini.

    Salutations to goddess who has the form made of Chants,
    To the Chamunda who is the killer of Chanda ,
    Who by chanting “Ai” grants boons,
    And by Chanting “Viche”, grants protection daily.

    10.Dham, Dheem, Dhoom Dhoorjate Pathni,
    Vaam veem Voom Vagadheeswari ,
    Kraam kreem kroom Kalka Devi,
    Saam seem soom may Shubham kuru.

    Dham, Dheem, Dhoom, the wife of Lord Shiva,
    Vaam , veem , Voom , the goddess of speech,
    Kraam, kreem , kroom , the goddess Kali ,
    Saam, seem, soom, , please do good.

    11.Hoom , hoom, hoomkara roopinyai,
    Jam, jam, jam jambha nadhini,
    Breem, breem broom bhairavi ,
    Bhadre bhavanyai they namo nama.

    Hoom , hoom, she who has the form of the sound hoom,
    Jam, jam, jam , she who has sound like thunderbolt,
    Breem, breem, broom , Goddess Bhairavi,
    Oh Goddess of the good, Oh Bhavani , salutations and salutations to you.

    12.Aam , kam, tam , pam , yam, sam , veem, dhoom , iym , veem ham, ksham , dhijagram,
    Dhijagram throtaya , Throtaya deeptham kuru kuru swaha,

    Aam , kam, tam , pam , yam, sam , veem, dhoom , iym , veem ham, the end of devotion,
    Tear apart the end of devotion , throw , throw light , swaha.

    13.Paam, peem, pum Parvathi , poorna, khaam , kheem, khoom, Khechari Thadha,
    Saam, seem, soom, sapthasathi devyaa manthra sidham kurushwa may.

    Paam, peem, poom , the daughter of the mountain who is complete,
    Khaam, kheem, khoom who is also flying in the sky,
    Saam, seem, soom , Get me mastery over the chant of the Goddess of Devi Mahatmya/Chandi/ Sapthasathi

    14.Idham thu Kunjika stotram manthra jagarthi hethave,
    Abhakthe naïva dhatavyam , gopitham raksha Parvathi.

    This is prayer of the Kunjika which is the reason for awakening,
    Oh Parvathi , keep this protected and kept secret from those who are not devotees.

    15.Yasthu kunjikaya devi heenaam Sapthasathim padeth,
    Na thasya jayathe sidhir aranye , rodhanam yadhaa.

    Those who read Sapthasathi without this prayer of Kunjika ,
    Would not reach the forest of perfection as it would be like a wail there.

    Ithi Sri Rudra Yamale Gowri Thanthre Shiva Parvathi samvadhe ,
    Sri Kunjika stotram sampoornam

    Thus ends the prayer to Kunjika which occurs in the discussion between Shiva and Parvathi, Which occurs in Gowri Thanthra and which occurs in Sri Rudra Yamala.

     

    Translated by
    P.R.Ramachander

     

    http://www.hindupedia.com/en/Sidha_Kunjika_Stotram

  • Shiva Linga Living Tree Kankalitala Shakti Peeta

     

    Kankalitala is a temple-town in Birbhum-Murshidabad of West Bengal.

    It is one of the fifty-one Shakti Peethas on the banks of Kopai River.

    Sati Devi‘s waist fell here.

    Image of Shiva Linga  as part of a Tree.
    Shiva Linga part of a Living Tree

    No Idol is found here.

     Instead,the central prayer chamber is a simple pillared hall with a small sanctum at one end where just a portrait of Goddess Kali, bedecked with

    flowers is kept.

    On the other side of the temple is a sacred tree decked with marigold wreaths and small stones tied to it using thread – a Bengali tradition to pray for

    pregnancy and safe childbirth.

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    The temple complex is  large.

    However in the center there are no permanent structures except the main temple and the water tank – the associated Shiva temple is a couple of hundred meters away, close to the entrance to the temple complex.

    The Shivalingam  is made of hard black stone & worshipped by the name of Shambhu aka Ruru Bhairav.

    The Lingam appears to be buried – it is situated in a pit with the chamber’s marble interiors surrounding it on all sides

    The lingam was once complete & protruding from the ground like normal Shivalingams.

    It was broken base upwards by a Muslim soldier named Kalapathar (literally “Black stone”, perhaps referring to his physical strength or his stone-

    heartedness) when Bengal was ruled by the Pathan warlord Sulaiman Khan Karrani.

    (That such a thick monolith was broken to pieces speaks of the animosity Kalapathar felt for Hindus & their traditions, though it is said that he himself was a convert from Hinduism who later specialized in destroying temples & religious sites.)

    Not far from the mandir’s front gate, a narrow dirt road leads away from the temple and toward Kankalitala’s cremation ground.

    Walking along this footpath, one will see numerous samadhis on its opposite sides. These are the grave markers of tantriks and sadhus.

    Entering the main area of the cremation ground brings you to the place where human bodies are burned.

    The system for performing this activity here is different from what I have observed previously at such burning grounds as Tarapith and Manikarnika.

    Instead of the typical temporary construction of a wood pyre which is then set alight, at Kankalitala there are two semi-permanent structures which are utilized.

    Each is essentially a raised, open platform made from several pieces of metal girder spanning across and secured in place by two short walls. These walls are made of bricks that have been covered over with mud which, now dry, feels solid like fired clay.

    Festival.

    The holy month of Sawan is dedicated to Kali’s consort Shiva.

    Thousands including women and children throng to the river Ganga under the collective title of “Kanwariya” to fill water in the small pots that are tied

    to the slender ornamentative poles they carry on their shoulders.

    The poles are decorated with miniature plastic tridents, idols of Shiva, snakes & other symbols that have been associated with Shiva according to Hindu mythology;

    the Kanwariyas traditionally wear saffron for easy identification & company for walking over long distances – the whole journey, from one’s native

    place to river Ganga & then to a holy spot (such as a Shaktipeetha) is performed on foot – even children as young as 8-10 walk several hundred

    kilometers.

    How To reach Kankanitala., Pooja Timings.

     

    Entrance Fee: Nil
    Open: Sunrise to sunset
    Photography/Video charges: Nil
    Time required for sightseeing: 45 min

     

    Kankalitala is about 10 km from Santiniketan.

     

    Buses ply on the Bolpur-Labhpurroute.

     

    Bolpur is the nearest railway station.

     

    One can hire a taxi or take a rickshaw from Bolpur.

     

    According to mythology, when the dead boby of maa Parvati was cut by Lord Vishnu’s Sudarshan chakra, the waist fell at kankalitala.

     

    Citation.

     

    Pixelated memories 

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  • Mahabharata Proof Three Cities 39 Sites

    The proof of any ancient city or a civilization is based on the following.

    Proof of Mahabharata
    Jarasandha ka Akhara, sometimes spelt Jarasandh ka Akhada, better known as Ranbhumi which literally means battle field, is located at Rajgir of Nalanda District. Legend has it that this site witnessed one of the most important battles in the Mahabharata war, between Bhim and Jarasandh. In this furious battle Jarasandha was subdued and killed by Bhim. Important archeological sites nearby are Maniyar Math and Sonbhandar Caves. image credit.http://bharatiyaculture.blogspot.in/2011_05_01_archive.html
    kadothgaja, Bhima's son's remains
    Mahabharata proof Kadothgaja’s Remains

    1.Internal References in The Epic.

    2.References to it in the contemporary texts.

    3.Verification of information found in the References of cities, artefacts, style of living, natural calamities recorded.

    4.Later references like Edicts, Temple inscriptions, epigraphs.

    1.Internal references are aplenty in the Mahabharata of other Kings, Dynasties, description of Land, Flora and Fauna.

    The references made to another Great Civilization and Culture, The Tamils would be more than adequate for the other references found in The Mahabharata point to the same area occupied the personae of The Mahabharata.

    The reference to the Tamil Kings Chola and Pandavas in the Swayamwar,The Kurukshetra Battle of the Mahabharata War,are corroborated in Tamil Literature.

    Specific mention may be made of is the reference to Arjuna marrying the daughter of a Pandyan King in Madurai when he was on a Pilgrimage, or of Perunchotruudiyalathan, the Chera King who is recorded to have fed both the Pandava and Kaurava Armies.

    Tamil Classic of the Sangam Age record that The Tamil Kings, Perunchotru Udiyan Neduncheralathan performed the Tharpan or the water Rites for the dead for those killed in the Mahabharata war .

    His name is Neduncheralathan.

    The term Perunchoru means Big Feast and Udiyan, one ‘who fed’alluding to the fact that he fed the Kaurava and Pandava Armies.

    Please refer the History of The Tamils by P.T.Srinivasa Iyengar

    Then we have innumerable references  by Inscriptions epigraphs.

    ‘Sri Kota Venkatachalam the author of the book
    Age of Mahabharata War” gives us the details regarding the inscriptional
    evidences available. He states “There are mainly four inscriptions extant are
    available to us which prove conclusively that the Mahabharata war occurred in
    B.C. 3138 or 36 years before Kali”.

    “After Parikshit died in B.C. 3041
    his son Janemejaya was crowned in. In the 29th year of his reign that is in
    B.C.3013-3012 or Kali 89, in the year Plavanga on Monday the-new-moon day at the
    end of Chaitra, he donated two villages to two religious institutions and the
    two gift deeds were prescribed. The first inscription is found published in the
    pages 333, 334 of the Indian Antiquary which clearly states that the gift of
    land for the worship of Sitarama made by Emperor Janamejaya in Jayabhyudaya
    Yudhistira Saka 89 means Kali 89 or B.C.(3101-81)=3012″.

    The 2nd
    inscription is that of a copper-plate on which a gift deed in inscribed and is
    preserved to this day at the Kedara Kshetra, in the Himalayas. A similar gift of
    land was made by Emperor Janamejaya for the worship of Kedaranatha
    swamy.

    The 3rd inscription is an inscription on the walls of a temple of
    a siva in the village “Iballi” in the Dharwar district. It was carved by the
    direction of king Pulakesin II in A.D.634.”

    Then we have references to cities and places in The Mahabharata.

    “The Mahabharata also describes three cities given to the Pandavas, the heroes of
    the Mahabharata, after their exile: Paniprastha, Sonaprastha & Indraprastha,
    which is Delhi’s Puranaqila. These sites have been identified and yielded
    pottery & antiquities, which show a cultural consistency & dating
    consistent for the Mahabharata period, again verifying statements recorded in
    the Vedic literatures…

    Marine archaeology has also been utilized in India off the coast of the ancient
    port city of Dvaraka in Gujarat, uncovering further evidence in support of
    statements in the Vedic scriptures. An entire submerged city at Dvaraka, the
    ancient port city of Lord Krishna with its massive fort walls, piers, warfs and
    jetty has been found in the ocean as described in the Mahabharata and other
    Vedic literatures.

    This sanskrit verse from the Mausala Parva 7 verse 40
    of the Mahabharata, describes the disappearance of the city of Dvaraka into the
    sea. “After all the
    people had set out, the ocean flooded Dvaraka, which still teemed with wealth of
    every kind. Whatever portion of land was passed over, the ocean immediately
    flooded over with its waters..

    Apart from Dvaraka, more than thirty-five sites in
    North India have yielded archaeological evidence and have been identified as
    ancient cities described in the Mahabharatha. Copper utensils, iron, seals, gold
    & silver ornaments, terracotta discs and painted grey ware pottery have all
    been found in these sites. Scientific dating of these artifacts corresponds to
    the non-aryan-invasion model of Indian antiquity”

    Some of the sites excavated by The Archaeological Survey of India. Visit the Link for more.

    Ahichchhatra, Dt. Bareilly, Uttar Pradesh            Ahichchhatra which is identified by Alexander Cunningham as Ahicchatra          of ancient literature is about 11 km north of Aonla, the tehsil          headquarter. This site was first excavated by Cunningham and then by          K.N. Dikshit assisted by A. Gosh and others in 1940-44. They          identified Nine periods of occupation called ‘strata’ starting from          pre mauryan period ( pre 300 BC) up to1100 AD. Besides other things          the excavation also reveled number of coins which includes caste coins          from the earliest starta followed by panchala coins ( I st C. BC),          Kusana coins, coins of Acyu, who is identified with Acyuta, the king          who was defeated and the territory annexed by Samudragupta etc. The          dates of the various stratums have been arrived based on the coin          finds, viz., Stratum IX, before 300 BC; Stratum VIII, 300 to 200 BC;          Stratum VII, 200 to 100 BC; Strata VI and V, 100 BC to AD 100; Stratum          N, AD 100 to 350; Stratum III, AD 350 to 750; Stratum II, AD 750 to          850; and Stratum I AD 850 to 1100.
    Ahicchatra was excavated again by N.R. Banerjee of the ASI in 1963-4          and 1964-5 which brought to light four cultural periods named as          Period I to IVstarting from OCP. PGW followed by NBPW up to Kusana          Gupta period.
    The presence of PGW and NBPW in the core of the rampart indicates that          it was built during Period IV. Four phases of expansion and repair of          the rampart was brought to light.

    Hastinapura, (29°9′; 78°3′), Dt Meerut ,Uttar Pradesh            Located on the right bank of an old bed of the Ganga, known in          literature and tradition as the capital of the Kauravas of the          Mahabharata fame. On the bank of the Budhi Ganga, two places known as          Draupadi Ghat and Kama Ghat remind one of the Mahabharata personages.          Three Jaina tirthankaras, Sailtinatha, Kunthunatha and Aranatha, are          believed to have been associated with Hastinapura.

    Kanauj, (Kannauj, Kanoj); (27°3′; 79°59′), Dt Farrukhabad, Uttar Pradesh 
    The ancient city, variously known as Kanyakubja, Kanyakubja, Mahodaya, Mahodaya, Gadhirura, Gadhinagara, Kusasthala, Kausa, Kausika and Kusumapura (the last according to Hiuen Tsang), situated on the s. bank of the Bhagirathi near the confluence of the Ganga and Kali. The ASI conducted a small scale excavation at the mound known as Qila in 1955 (IAR 1955-6, p. 19); Prior to that a few stone sculptures-chaturmukha lingas, Varaha retrieving the Earth, Kalyansundara murti, standing Surya and Visvarupa standing with Sndevi and Bhudevi, all belonging to the 7th-8th centuries (Ghosh, 1953), and a later dancing Ganesha had been recovered from the neighbouring regions. Explorations in the early years of. this decade have brought to light a treasure of archaeological wealth. The pottery includes the PGW represented by the bowl and dish, Black-slipped Ware, fine as well as coarse red ware and the NBPW. Several stone sculptures have been found the prominent of them being those of Parvati, Karttikeya, Surya, Vishnu, Siva, Ganesa and some Jaina figures datable from the 4th century A.D. to the medieval times.

    The place has yielded variety of terracotta figurines and plaque both human and animal are datable from the 3rd century B.C. to the 12th century A.D. notable among them are a handmade torso of the mother-goddess Gaja-Lakshmi plaque in typical Sujiga style, standing Mithuna Naigamesha figures, both male and female, Mother-and-child (ankadhatri) figurines, Dampati figurines are also made from a shallow mould etc.

    Some of them show traces of red slip and one specimen bears black slip. These present diverse hair styles, the lenticular eyes have round pupils, the elongated ears are applied and the stwnpy arms and legs indicate fingers and toes by incised lines.

    The other terracotta objects are animal figurines of the horse, bull, birds and rider with cap; skin rubbers spindle whorls with decorated edges; beads of areca-nut shape; and moulds of the Sunga and Gupta periods for producing human figurines. An ivory die and several bone points have also been recovered. All the terracotta figurines and other objects except the stone sculptures recall similar finds from Ahichchhtra. Period I may be dated to c. 100 B.C. on the basis of PGW, Black –slipped Wareand other pottery. Period II is characterized by the find of the NBPW and is hence dated to 600-200 B.C.

    Period IV has seven Sub-Periods based on the structures built of lakhauri, some of them in lime mortar and a few also plastered with the same material. Glazed pottery and coarse red and black wares confirm that the levels belong to the late medieval times.

    Mathura (27O31’’; 77°14′),Dt. Headquarters Uttar Pradesh 
    Situated on the Yamuna, a city with a long history as a political centre from early times till at least the early centuries of the Christian era. With the discovery in 1836 of a scupture labeled as ‘Silenus’ the rich antiquarian remains of Mathura attracted art-collectors and archaeologists. Various localities in the city and its neighbourhood were subjectede to digging from about the middle of the last century by Cunningham, Growse, Burgess, Hardinge,Fuhrer, Vogel, Radha Krishna and others..

    It was only in 1954-5 that M. Venkataramayya and B. Saran of the ASI obtained a cultural sequence of the Katra mound, an extensive habitation site, ranging in date between 600 B.C. and A.D 600, according to their estimate (IAR 1954-5, p. 15): Further excavations were conducted by M.C. Joshi on behalf of the ASI at about 14 sites from 1973-4 to 1976-7 with the principal objective of examining the antiquity, growth and character of historical Mathura. As a result a sequence of the following cultural Periods has been obtained: Period I, from c. 6th to the closing decades of the 4th century B.C.; Period II, from the closing decades of the 4th century to c. 200 B.C.; Period III, from c. 200 to about the end of the 1st century B.C.;Period IV, from the beginning of the 1st to about the 3rd century; and Period V, from c. the 4th to about the close of the 6th century. Others believing in an earlier origin of the PGW, present in Period I, if Hastinapura, would ascribe an earlier date to the beginning of Period I.

     

     

    Ref:

    http://mahabharathascience.blogspot.in/p/material-evidence-supporting-time-of.html

    http://asi.nic.in/asi_exca_imp_uttarpradesh.asp

    http://ramanisblog.in/2013/08/31/ramayana-mahabharata-dynasties-from-manu/

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